Da 5 Bloods
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I May Destroy You
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You have seen it all before.
It deserves 100% except for the very poor acting performance by the female cast members.
Based on the majority of Wayne's films, the American public would answer to Red River: "Yeah, that's great and all, but what if the Duke just won all the time with hardly any real conflict?" Instead, this film tricks you into thinking Wayne will fulfill that generic crowd-pleasing position from the start, the loner who builds himself up from nothing, but turns that on its head as he gradually slips into more and more violent tendencies to preserve his position and his perception of morality. The ending is less innovative, but I guess Hawks had to bridge the gap for the sake of acceptability at some points. (4/5)
Tiompkin's score, particularly the river crossing, is one of my all-time favorites.
A truly great movie that defines the genre of the American Western. Great to see John Wayne in a non-typical role. The only negative is the really sappy ending that lands flat.
Beyond boring, I couldn't make it to the end. Don't waste your time.
A tough classic masterpiece; at times bleak and uncompromising, but ultimately optimistic and encouraging. It tells of responsibilities, of obsession, of growing up, both physically and mentally, of hard times and setting proper aims in life. For me it's evidently one of the best western, most complex; it even hardly can be called strictly western, as all good films can't be (and shouldn't be) categorized so easily into genres. As to comparisons to the Exodus, I leave this to critics to decipher. John Wayne and Montgomery Clift were a good pairing, both giving tremendous performances.
One of the best American Westerns of all time.
What I would give for a scene at some point with Walter Brennan saying "I am Groot..."
With a relatively straightforward narrative—the cowboys must drive the cattle from X to Y, braving the threats of the natural world, the harshness of the landscape, the violence of the invaded indigenous, and worst of all, the savagery of their fellow man—this grand, epic, sprawling western is nonetheless emotionally tortuous and thorny, following the shifting allegiances and attachments of its complicated protagonists as they follow the Chisholm Trail north and out of Texas. Yet if the film does a majestic job of portraying the journey of its characters and the character of its journey, beautifully capturing the vast scenery and cast, its scope is nonetheless limited by its genre and its time, being in the (very abrupt and sloppy) end an overwhelming white and male film—as Ebert put it, "It is only in its few scenes involving women that it goes wrong."—of as uncertain an ethical import as its protagonists.
Not my favorite western, but still a great example of the power of the genre.